The Intermediate Sessions For Guitar, Part 1 The CAGED System | Geoff Sinker | Skillshare

The Intermediate Sessions For Guitar, Part 1 The CAGED System

Geoff Sinker, Guitar Teacher

The Intermediate Sessions For Guitar, Part 1 The CAGED System

Geoff Sinker, Guitar Teacher

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23 Lessons (2h 7m)
    • 1. CAGED Intro Skillshare

      2:21
    • 2. CAGED Part 1 The basics

      11:54
    • 3. CAGED Part 2

      11:55
    • 4. CAGED Part 3

      13:43
    • 5. Simple I-IV-V progression using CAGED

      6:07
    • 6. I-vi-ii-V Progression

      4:33
    • 7. Pentatonic Scale Positions

      7:56
    • 8. CAGED and Major Pentatonic

      4:31
    • 9. CAGED and MInor Pentatonic

      8:43
    • 10. Major and Minor Pentatonic Positions

      4:02
    • 11. Backing Track Level 1 Ex1

      2:54
    • 12. Backing Track Level 1 Ex 2

      2:46
    • 13. Backing Track Level 1 Ex 3

      2:46
    • 14. Backing Track Level 1 Ex 4

      2:41
    • 15. Backing Track Level 1 Ex 5

      3:05
    • 16. Maj7th Chords & CAGED

      6:31
    • 17. Min7th Chords & CAGED

      6:03
    • 18. Dom 7th Chords & CAGED

      4:50
    • 19. Backing Track Level 2 Ex 1

      4:29
    • 20. Backing Track Level 2 Ex 2

      3:49
    • 21. Backing Track Level 2 Ex 3

      3:57
    • 22. Backing Track Level 2 Ex 4

      4:14
    • 23. Course Conclussions

      2:57
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About This Class

What is the CAGED System?

To get the most out of your guitar playing, you need to have a greater understanding of the fret board.

Wouldn’t  it be nice if the guitar was  laid out in a logical fashion? Well guess  what, it is, and in these lessons I’m going  to introduce the CAGED  system.

Understanding The CAGED System will deepen your  understanding of the  instrument in many ways. You'll be able to play  all over the fret board  and see better the relationships between  chords, scales and arpeggios, and see the fretboard’s  inherent logic. 

Once  you know your CAGED system Major chords, the next stage it to attach   or ‘layer’ on to them a useful scale. In this case, you will learn how  the Major & Minor Pentatonic scale work logically with the CAGED  system.

Lets then put all this to a practical use.

Armed  with knowledge we will look at examples of how the CAGED system works  in the real world with examples of standard chord progression and the  Pro's would approach them.

Improve your soloing

With  the aid of professional backing tracks you will learn how to combine  both the CAGED system and the pentatonic scales to create great sounding  solo's.

Meet Your Teacher

Teacher Profile Image

Geoff Sinker

Guitar Teacher

Teacher

Geoff Sinker started playing the guitar at 13, and by the age of 16 he was performing in bands in his local area of Bolton and Manchester. Always hungry to learn and expand his musical knowledge he studied under some of the foremost teachers at the time.

He spent the 80s honing not only his performance and technical skills but also his teaching abilities.

As well as performing in various rock bands he started teaching in various schools and academies including Kent County Schools where he was employed as their first contemporary music instructor for the guitar.

In the late 80s he relocated to London, working in recording studios recording and doing session work during the daytime and playing live in the numerous bars and clubs in the evenings. He also set up his own... See full profile

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Transcripts

1. CAGED Intro Skillshare: Hello. My name is Jeff Sinker. I'm welcome to the first stage off my ongoing Siri's Kulti Intermediate sessions. These lessons are aimed at the beginner who is no moving forward. You've done all the standard courses. You're no ready to move on. No being intermediate. There is a lot of things that we have to cover all the time. So I have broken them down into smaller modules. This first module is the cane system. And to me, as a professional guitar teacher, this really is the section where you start to understand and start to master the frat board . We will be going through all off the different positions in the Kate system for the major court. We will then move on to the minor chord. We've event start to look at the pentatonic scales because the pentatonic scale on the Kate system, they sit hand in hand. Once we've gone through that, we will then start to combine elements off major on minor chord progressions. No Onley. Will you learn how to play? The very expositions indicates system, but how to practically practically use them in your playing in session. Number two of this lesson, we will bang look at the extended courts were were looking up major seventh chords, minor seventh chords and dominant seventh courts. And again, at the end there are a series of backing trikes with complete court chart progressions for you to work fruit on, become fluent on professional in your approach to playing the cage system at the end of this course Onley. Will you be feeling confident with Kate System? But you'll also be able to apply a pentatonic scales behind the various chords, which then leads you on toe a future module, which is playing over chord changes on improvisation. 2. CAGED Part 1 The basics: and this lesson, we are going to look out the basics off the cage system. I'm gonna take you right back to the beginning when we discuss this case system. So you understand where each off these different courts that we will be playing originated from. But first of all, what is the cage system? Well, Kate system is where we can use a Siris of chord shapes to play the same chord. Open down the fretboard. We are looking at the scene. The a G way c a g e d caged. To understand how this works, we have to understand what creates a cord. Now, cord is made off off a Siris of court tones. In the case of the sea, we go back to the C major scale. C major scale consists of C D E F G A, B C 12345678 Accord in a major chord is built up from the first degree, the major third degree on the perfect 50 green. So in the sea scale that would be seen. The third would be e on the fifth seen way. Apply this from this C note on. We look for these knows and we look across this sea that we've always seen. There's a sequel. Let's see these intervals at work. So we have got seeing the root way have E, which is the third way G, which is the fifth See which is the octave off first again on then e, which is first wrong free five. So this shape that we have here is creating a template off a major court because scales and intervals are always constant. Now let's apply this fearing to the next note on the next chord in the Seeker's, which is the A No, if we are playing the a major scale because we have to ascertain the first effort in the fifth. Well, we have a B C, which is the third, then we've got D, and we've got the E, which is the fifth we go to our beloved a court. We all remember a beginning court. Let's have a look. Her them relate to this shape. Here, we've got a We've then got the IV, which is the fifth. So we've got a 15 way, have another A, which is the one you see sharp here, which is the third on. Then we go toe a five. So we're doing a 155 Let's look at the G. So the G major scale gives us a gene gives his being on it gives us is a G chord. Let's see what iss it. So we have got our g here. We've got up the which is the third we've got our d, which is 50 g which is the first again. Then we have got the e which is the third man back to the fifth. So we have that 13531 So let's have a look at the e chord. We have any in the route. We have a G shell which is the third way have to be way goto our normal court. We have e which is the wall way have the baby, which is fine if we haven't over E which is a one shot, which is the free thing, which is the five 153 sign. Finally, let's have a look at the D Now the notes were looking for the d are going to be Dean, which is the root we're looking for an F show which is the fifth under any way, D way have route, which is the way have the five way have then got one which is this d on then the F shop, which is the free so way know that this shape these intervals always remain static. When we are dealing with major court, it's always a one followed by major football by 50. We know that if we change our positions, the intervals will still remain constant which is great for us as a terrorist, because if we know where the root note is, we can't then create cords, banish round these different intervals of these different shapes that we've got Which other c a g d c a g e d. So we had our c 135 free. If I wanted to play the A shape over that sea, all I'm gonna do is I'm gonna move up. This shape was originally the ship. If we think of the decor, all of the open strings off where our finger would be on a bar, but the nuts doing the job for us if I take this finger on moving up, so I've no got my first finger on the C. I could create this ship of the A chord on. And I have got C major court because of the notes on plane there because I've got this. See, then I have got the g. Which of the five? Then I have got to see again, which is the one that I have got the d started the which is the third on then I am playing the fifth. No, we have an alternate way off playing. You see, we can play a scene like that Way could play see like that Both based random same route north. So let's take the idea. Let's find the next see as we move up the fretboard on next one we're gonna come to will be the sea here on the Lower East drink. So what? She can we play over the top of that? Well, the shape that we use see a is the G shape. No, this one is a bit of a stretch when we play this because this is our G. Remember? All them open strings are taken with the not so If we move the shape hope we have to treat it as a bar chord. The shit that we're gonna be doing is a G I said I've got a play with my C. We're looking for the same intervals. And we know that this G shit creates a 1135 So that shit we're actually gonna be playing is this and that This can be a bit strange for people when it first started. But I've got my cedar. I've got my E, which is the third on those my fifth. So I've got this ship 1351 on I'm across to my d. Sorry, my e, which again is my third? No, I'm picking up. See, which is my fifth way have offered shape for playing a scene in the G shape root note. This time is no longer based on the first finger. It is no based on the third finger. No, you can use an alternate for this on a simple way of doing this is to actually put your little finger on the sea. Still keeping your bar down here on the fifth fret. We drop our third finger onto the e. We don't bother with the high e string. See court with a long intervals from Major. Now what ship next E? Well, this is the one that if anybody started using bar chords, they will know which is based around the e shape here. Are we going to do? We're going to take up, Remember, that will be our first finger on the note. We just take it all the way up to my first think of finds, see, and way Have another version off a C chord, which is a 15135 Well, if we got to see here, we have Goldman octave See here on the share that we're gonna be going to play is the D shape. So the shame that we're gonna be taking up is based on the idea of a D without bar or you can just use your finger, right? I prefer using the bar, but we've got the bar on the 10th fret, which is the scene. Then we've got a second finger, which is on 12 off the GT, which is giving us wrong five. Then we have got another C, which is our walk, which is our little finger playing 13 friend on that. We have got the e which is offered 12 front. That one takes a little bit of practice getting into them, working your fingers built round. So we have got C way. Have got C game room on the first finger. We have got. See room on the little finger off you go for the big stretch route on the third finger way have got our very comfortable one that we're all used to see in the shape off e template on . Then we've got a final walk, which is what I'd like you to do is prices moving into these positions. So you find it very comfortable that you move up, see seeing C c Finally in part two, what we'll do. We'll look at using the cage system over a D on on e chord. 3. CAGED Part 2: Hi. Um, welcome to part two on my Siris on the Kate system. This lesson we are gonna be expanding what we did in part warm, where we looked at just the C chord. What I want to do now is just move around the fretboard, looking at different major courts on putting them together in little sequences. First of all, I want to discuss the C shape cord on how we plan that as we move off the fretboard. Reason I picked up on that because when we played this way was using open strengths for me for a number of the strings that are played in this shape. Now, if we move so the root no is moving up the fretboard, So is that the moment we're on the sea? But we want to use this template to play D chord. What we have to consider is that the note was playing two of the strings. It was playing the open G string. He was playing the open e string. So to move up, we have to change our fingers because we need this first figure to be freed up. So we're gonna use our little finger on the A stream. We're gonna use our third finger on the D String on. We're gonna use our second finger on the B strength, the first thing that is taking the note position. So if I want to play a D, what I'm gonna be doing is moving all of them notes up a whole Tom, which means that I've gotta put my first finger on the second fret that then gives me my route. Myford, My faith, my route. My foot again, eh? So that is your d chord using the C template. Of course. Then we could just move up the fretboard If I want to play any If I want to play any flower just down obviously we have to remember that the little finger no is taking the root note. So we do have to be a work off these notes on the A string that will really speed up this process. Now one of the tricks that I always use when I started to learn chords on how to use all my fingers was to play the corner I will play my Then I would break the grip that I hard just by resting on my knee and then I had to come back in play the court way. Always said if I could do that 10 times correctly, I had to be honest with myself. Then I have the court shape. No, What I want to look at is just some alternatives that we can use to some of these court shapes. If we looked at the G chord to play a seed using the G template or if, like any corporate, I'll take the sea, that's quite a bit of maneuver to get the fingers into that position. Now, I had said that you could change this grip. So we've got our little finger on the route. No, on our third finger is playing the third way. Must make sure we don't play the high E string. Now, we could take that idea a little bit. Fervor. Look at it from the over aspect of the guitars were sort of figure it down here as the route. No, we can take the root note down here. We are gonna lose Eva the root note on Just take the little finger way playing like that all we could just take the bar from the D string, which gives us a G way, have got a C major chord using the G template. But I'm on Lee taking from the d string down G each drink s so that can be a useful way off playing this court. If you find that a bit of a stretch to get into, especially if you gotta move quickly d shape the is obviously the simple ways. Just play the three strings. We get our tryout. Because when we talked about the d, we knew that the route no was on the B string that give us our d on. We have fifth on the G on. We had our major furred on the high E string so we can move off the froth, play a major. Try it. Using the D ship or we've got to remember is that the root note now is on the B string sore . Further incentive to learn the notes on the beast drink. If we have that, we can pull in very quickly and way just by remembering worth out Route noughties on that beast right now another way, I can utilise the d chord ease to instead of playing that way said that was a strong. What we can do is to just change the fingers. So the third finger now is coming back up to the What would be the seventh fret what we're doing here. I'm playing a G, but I'm gonna be using this d shape. What I'm gonna be playing is I put the bar across five fret I'm gonna put my third finger onto seven, friend, and I'm gonna put my little finger onto a front on the B. I'm going to use my second finger to play the B in the root. So I gotta never weight off playing a major corner of a template that utilizes this D ship . But I'm just putting this bean or into the route to give me an inversion. Nice centre is, well, another simplified version off playing a major try out using the e shape is to just play the free middle strings. So if I wanted to play C said he used in the bar what I could do, I could just take the temperate, which is a C, which is the root. I could take the nine friendly G, which is the major furred on then I can take a front on the B string, which is my mind offered on. I could just play in the then three notes, so that would give me a major triumph. So I sent having to play a full shape over the I can also just play that shape. No using theme the A template I come just play if I want you to play a c chord said it put in the four bar across I could just play from the d string down a C major chord The storm of the bar. Oh, I could display flat so that would give me my c way. Could even see it coming from that g position way because he coming a template does matter . Is we sharing them notes there that still give us a major court try out. So I've got that version. I have also gone down version I use. I can also do the same using the C template, but he doesn't come. It doesn't really show it to well, here. So what I'm gonna do, I'm gonna move into e position so I gotta play an e major chord using the C template on their way. What I'm gonna do again. His target The middle three strengths, which is the delayed unity on what we end up with is this shape way show a number of you have already played that ship when you be doing a number of rock songs, one of the most memorable ways of using Nice to take the three different North in the middle, which waas the A movie down. So I'm playing at E, but I only play them middle strings moving down to more France. I get a d my foot ship. I'm just using metal strings on that. I want Plan A If you've ever played Crazy Train by Ozzie Osborne or If you played Jack and Diane John Cougar Mellencamp both lessons that I've covered two previous date. You could see the off these major tryouts, but only used in this middle strings course that was going to be really pushing it. Which is that a taking from the G shape G template, but only so we do have a variety off different ways off playing the Kate system. We don't always have to think it's a full court, refused every single string I was always trying to do is to play the route the third and the fifth. Once we take about books, we have played tryout. Now, I did say that I would look at a number of ways we could move some of these called Ryan's. He get the idea what we're looking out here and what I'm gonna be doing here, I'm gonna take a C chord, but I'm gonna use it as the new shit. So I've gotta see court there. Then I'm going to go to an F So I got to see an app which probably don't like that. But I could take this. There is my see using the G for that I could go to my f using the C template. So I've gone from a G shape. That's the full one. Then I've got to it half. If I wanted to throw in a d c o. I called movement that I go to India. If I wanted to go to a G Shit. I've got that ship there. When I go to my f Now, I want to put in the G. My G is sitting over the ship. No, I didn't move. My position of my body. There was hardly any movement, which is again one of the great benefits off using these kids system I've taken g share my c I moved into my on If I want to get into my geen bullshit on back to the O, All we've looked up is the major court shapes. In Part two, we are going to be looking at the minor court shapes. 4. CAGED Part 3: hi and welcome to part free on my Siris on the cage system. In the previous lessons, we have looked out using the Kate system based around the major called Template Shapes. C a G E d. In this lesson, we're no going to expand this by looking at the minor courts. Know if you've already worked through it lessors wanted to. You'll find this a little bit easier on the understanding of what we're doing here. Now we are going to look out a minor just because we using the same notes a minor being the relative monitor. See, we are looking up, notes A B C D E f g. So it's a little bit easier to find them on the fretboard as we move through. We still have the same rule applying. We've got to see C minor, a minor G minor e minor D minor. However, to off them are not a simple to play outside the over many free. So we're gonna take them a little bit active sequence here we are going to be taking first of all, the a minor template to play a minor chord. No, we've all played this court before what we've got to understand. First of all, going back to some basic theory is that a minor chord No consists of the root note a minor furred on Then the fifth intervals between each one of them notes is from route to the mine effort is a mine offered interval obviously from the mine offered to the fifth is a major third interval. Never think that will help us when we start to Manu, move around the French port. First of all, let's look up the a minor ship now I'm sure you've all learned these this ship right at the beginning when you first started to play a A which consists off the road node which is the warm we have the fine which is e we go back to the A which is one a game way Have the sea which is that mine? Efird way flat free No, to make that work for us. It is a simple bar cordon and you have probably played this previously. If now all we're gonna do is we're gonna change the fingers on the fretboard from the normal first finger, be free on the D and two on the d free on G. We're gonna do We gonna just move them fingers So we freed up infesting If I wanted to play a C minor What? I do it like this again Move up the fingers and move up the bar because the bar was originally here Whether not is really bring out the bar. So I know my first finger is on the sea on the a string Baffled down on we play the notes way, Way to go out wrote which is g way Have the sea memory You've got the d sharp Remember this c minor? So that's a flat for wave gene No, you've learned that you've learned all of the miners in the a minor template shape Because we just take the room? No from a string, nothing complicated about whatsoever. So if I was to ask you to play an e minor, you'd already be sitting there looking at me thinking wind months not too hard There is are a minor template for playing any minor court. Let's look out the next easy one the e minor again. You will have played this if you've started to play bar chords because all we're going to be doing is frightening the major effort down toe minor for two everything, e major. There's the major effort on that g sharp which flat becomes g natural on when we move forward. If we have to play G minor, we just move up that shape using this time offered on our little finger move up at the bar on the G straight line down since he would be here mind. And of course, you've never got 12 minor chords just using the route north because we going from the E all the way through the dramatic scale right through to be on the 12 friends. So we have 12 minor chords available to is using the mine ship. The next one. We're gonna look up his d minor because demon again is one of them simple chords that we learned when we first started. Pick up the guitar. We have the deal being the root way a being the Fifth way have the DB in the rooty game. But this time where we played in f sharp in the d made you were playing an f natural because it is in minor offered No, if we turned that into a movable court. Because now we've got a template. Remember, our route was there so we can move up. But of course, we gotta move our fingers to accommodate that shape because we need our first finger to be here. Because if we there, that's offer. Speaking on the open D string as we move forward, we need our fingers. We go to the E, which is a whole talk off the fretboard. I've gotta bring that bar in here on that will give me that route. This'll root month following over the previous listen where I talked about just playing the trial, I could just take that shape and I could just move it up because our route no is on the beach drink. So if that was a d move up halftime. I can't play the d string anymore, but I can play five free. You know, the strength gives me the actual So there's my my mind, my g minor. Um and of course, the shops flats in between. So they are easy wants to use. No, let's look now at the ones that are not as easy. And let's look at why they're not Azizi. I see we have got C major effort, which is on to the E on, then a minor third kicking on to here on the G when we were playing It is a C minor. We've got to think of the scale of the C minor on the C minus is going this time he's going to root C e flat because that's a minor offered on down to the fifties changing. So we got mine effort. And then from the mic from the third to the fifth. Tom, there is a major effort into So we've got a look at this court and say that whenever we see an E, we got a flat. Well, straight away, we can't flatten out while we Easter eggs that's out has gone so we can't do anything with that. We're just gonna mute that. No, we've got a look at the E, which is this major food we're gonna make that a flat offered. Okay, Yeah, that's a bit of a struggle, but I could put my finger there, so I got my little singing on the route, and then I can play them too, using my first. My first thing I play in my flat for their I'm back playing with See there. I got my G still. Okay, Looks OK, But now let's be care worker. Move this. Remember the knots playing one of them notes for me. So if I wanted to play the d, I'm gonna move that whole shape up. That that is fine. I've got my deacons. The notes were looking for We're looking for a dean we're looking for and she's don't mind Offered for the move PM I've got is my deny God put my Fok my first finger there. No, we got a problem because I got to do that to get the A But that's a real problem trying to get out Little finger man. It's not the easiest court play to get a d minor, so that becomes problematic on a lot of people shy away from them because of that fact, that's not easy to get way. Let's go think about what we discussed in the previous lesson when we only have to pay play part off the tribe when they have to play the notes of triumph. Well, let's think I've got am I flopped further. I've got my fifth. I got my route there. I could just play a little triangle. Should wait to find it all I could climb out s so I could play out All right, Just out. So I just got that little diamond shape as I like to refer to it. That would give me my C minor, huh? Because of the notes that I'm trying to bring into that story My d minus my demon. Because that little position there that's a little bit of a struggle against ship stopped to dispute with fingers are, but it's still not a great one to work with. Way can't just play, just buy them Free knows because that's not giving is on trial were only playing across that we're doing way doing the deal by 20. So we missing the actual main ingredient, which is that flat furred. So that is the shape. But remember that again this B string is providing me with the route north. There's D minor eyes, my e minor. So that is how we used to see and they would looks nothing like a C once we start to shift it. It's a reference there to see, but Certainly no one were into that position. We don't see the hub off. See too many seas. Let's look at the final one which again holds the same problem that we had with C Court hears RG We need to know come up with a template ship that gives us a G note, which is then we've got a B flat, which is the flat furred on. Then we're guarding the G and D is not a big problem. It's all. But we have this problem here when I'm gonna bring that be in the automatically. Arby's a problem because we can't flat not be there. We do it here on the extreme cannot fly here. Do we start bringing into this position here? Way can do because it when we start thinking about these thing, that's what we start to apply in these ideas. Just creating tryouts. Because if I was to play that like that, that remember, I can play that the zone I'm gonna back away from plain No, in the sense, unless you're muting the Beijing is no here the toss game being made redundant. So as we can see, the G minor shape is a little bit problematic. So the way I do it, I take the fifth. I take my e. I then play second fret catches my eye. There's my fifth. Then I take my E on the B string. I take my route a game. I just plan like them. That gives me a tryout, so I'm not playing the top part. I'm just relying on the d. G. B. So we have our five shapes free of them. Very, very easy to play two of them not so easy. What I want you to do is no practice using these in various positions on the fretboard, especially the C minor template under G minor template. Remember where the root note is when we play them? If we playing the C minor, your route no is on the B string. When we playing the G minor, our route is Yvonne High E, or it's on the G string in Partner. Before we are going to combine the major on the minor shapes in the cage sequence. 5. Simple I-IV-V progression using CAGED: this lesson, we are going to look at using the Kate system to play a 541 core progression, using five different positions for the C chord So the cause will be using will be a C A B flat in the four card and the F B in the warm cord. Now most people, if they're playing this and they're just approaching it from a normal kind of bar card approach, they will take. As I've seen with many students before, they will take the C chord in the form. They will take the B flat gain in the form on the finish off with the F again. Nothing wrong with that. Nothing at all. But what I want to do in this lesson here is to show you the various ways we can use that kid system. So we're not moving around the fretboard as much, which will tie him with future lessons when we start discussing planes solos on targeting court owns over the Kordell changes. So let's look up. Probably one of the easiest approach is to play in this, which is using pretty much in the firt position from orbit string to third position so C chord. Well, let's go back to our very, very early days of playing the guitar on. We got the standard, See? No, we've gotta find an R B flat. Well, the one that will go for will be the a template with our root note here on first from the a string on, we've just got the standard A shape There's a B flat on. Of course. No, we've got access to the F chord using the e template. So see way. Okay, let's Movil. Let's look at the next position. R C would be here way using the a template to be play that C shape. No, we've gotta find r b flat. Well, to get the beef up, we're gonna use that G template shape. So we've got our beef, like, here on the east drink, which is on that six front on we go for that G shape you could ever you take the full ship here waken Take that Shame that we discuss before or we could just take Now we've gotta find out f while the African be used in that d shape that we can go for the full d ship here way. What? We could do the alternate Jr on the previous licence. So see no b flats on. Then we have the chef, right? Let's move on. We've gone from this position here, on our seats. One next one's gonna be here using that G ships of those are C chord know. We've gotta find our beef on what? We can go That ship there, which gives us our e. So we've got that position way. Move up Way What? We're gonna take the sea ship. Ah, little finger playing the F note on the A string on the French way Have C B flat way gonna move up to the e shape There's R C Corps. So now we've got to find our be far. Well, yes, we can move down here We want we can do that. But of course, we've also got access to the D ship because our beef luck will be there on the D strength which will be on the front so we can utilize the D ship because we've got a bar across here . There's taking in this F which is only a string We can go to the A ship way so we've got C way from there. We're gonna go to the D ship off the sea. So we move up here. There is a C shape because we've got a root note there on the 10 front on the D string There we've got way this the scene now be flow. What? We just take the sea ship. Little finger pulls in the 13 fret on the extreme using the C. Templin is B four. Finally, to get to the f what we dish use the G ship way, Teoh B flat way. And so a very, very simple exercise going through the Kate system, utilizing all of the five positions for the Psi Corps. Experiment with it. Go through the various pounds. What you could do is just take each one at a time, playing there through first time Rome. Take that position, then move forward on just walk up the entire fretboard 6. I-vi-ii-V Progression: Now we are going to look aren't using the kids system to play over a 16 to 5 corps progression, But so I won't called. Will be the c R six card will be the A minor. Off to court will be the D minor on our five card will be the G chord. So let's start at the bottom with R C in our traditional C position. So Standard C Corp was one called six car. Very easy because we got the open a minor again. Way to call the d minor on. Of course, we're gonna use our open G court. Very, very simple. Wing off playing about 1 65 If we want to start using the different positions, we go to our first position. See? So we've got our See that now we've gotta find are a minor. Well, what we gonna be using around our position is that one that I showed you where we're holding down two and two for this. A minor we're holding on to on the D on two on the G, and then we're gonna bring in thief I've on the B and e. Thank gives is are a minor Triad member. We're talking. Try and see as we wait. No, we are gonna play a D minor trying. Well, we're gonna play this shape again. A very unusual way of approaching it. Not a standard way. But we've got this. We're playing the after playing a game. We're playing the d on. Then we bring in the A at the top a d minor again, an inversion off this one and then for RG Well, it's bank toe, a good old f all the e shapes, I say unusual. We're playing that. I'm sure many of you have never approached it quite that. But we are still used in the triad shapes that we covered in the previous lessons. We move up now we've done the standard. See here on the sea there, we're gonna move up to the sea using the G ship. So there's are seen. No, we gotta find out a minor. Well, a game. That's an easy one. We're just gonna use that starts standard a minor where we got the bar on the five and then holding names 77 on the a D. Okay, that was fine. D minor. Good one. We're just gonna use that a minor ship over that D minor on five position way Gotta get RG . Well, we can use that, which is utilizing the D template. So that was known about Well, that could be one of my favorite approaches for playing. Especially if I want you to start extending the cords that will move up to the E ship with seem so we've got our standard garden c chord. Know we've gotta move down to the a chord. What we gonna pull? And the old demon ship just gotta demanded with the bar across on seven friends know to play the D minor, and I'm taking a G minor template, and now we've got to bring it in the the G. So for the G, we're just gonna play a Sikh or tendency template called Final Warm. We take the sea template, eyes are seen there. We gotta pull in the a shape. So what we're gonna do You take that, uh, of C minor template shape. Do you mind it when we complain is a straight bar on our normal d minor shape using the template movie down to the G using the A major way. So we have gone through all of the different positions for the C chord, playing a 16 to 5 com progression again. Same his previous work through the different positions, getting yourself comfortable as you move up and down the fretboard. 7. Pentatonic Scale Positions: and this lesson, we are gonna be looking out playing and using the pentatonic scale across the entire fretboard. I'm sure you're all familiar with the standard minor pentatonic position. Anybody who's been playing the guitar for some time now, I'm sure they have been using the scale, so just gonna go through it very quickly. The A minor pentatonic starts on a five position on the A. We'd issues in the notes a C D E e g, which is the a minor pentatonic scale. So they would be played across using two notes for string. It would be 58 on the Lower East Ring. Then we have got 57 on the A 57 on the D 57 on the G, 58 on the B, 58 on the high seas. Remember, whatever we play on the low, we were always going to be playing the same on the high E. Now what we're gonna be doing know is we're gonna move up one note on play, two notes for string as we advance hope. So what? The notes that we played here on the a string which is the D will now be played on the law E string. So we will get eight on the way. Use that same idea of pulling one notes that we played previously in the past position of bringing it forward. So if we do that, we end up with this shape here. Were we playing from the sea to the D, which is 8 10 Then we take the E to the G, which on the A string is gonna be 78 Way picked the A to the sea again, This is gonna be 78 way Go across to the D to the E, which is 79 on on the beach Strength. We are gonna be playing the G to the A, which is 8 10 on the same again what we did on the law each ring, which is 8 10 which is the seat to the deal. So we ended with a partner. Are we gonna move up again? So we're gonna move up to the dean or this time on the ship they were gonna be playing there. Is there a similar to what we played here on the A String D string and G string, which was these two notes part because we are playing the same knows what we move that d up now to the D on the law, each string. So we end up with the d E, which is 10. 12 moved down and we got the G A, which is 10 12 a game moved down to the sea to the D 10 12. No, because we played previous of the B string. That number the is gonna be moving down. One fret because of the tuning on the guitar. So we're gonna play nine on the G 12 on the 12 G, then we move back to the B strings on Know this part is the same as plain. So we end up playing 10 to 13 on the B on, of course, whatever we played on that Lowy Plan High, which is 10 12 which is the D to the So we go moving up again to the next note in the scale , which is the e but would play e to the F, which again is the same as being down here. Way end up E f, which is 12 to 15 on the way. The same thing here we've got the A to the sea, which is 12. 50 way have got the d to the E, which is gonna be 12 to 14. We have got 12 to 14 a game, which is the G to the A. We gotta move forward here because that be tuning. So we are gonna play the B to the sea, which he's gonna be 13 to 50 and again, back again to the E to the G 12 to 15. No final note, Which is gonna be the G. So we're appear on the 15 front. We're gonna play the G to the A. So we're doing 15. 17 c to the D 15 17 way moved down, and we're gonna pick up the e going to the gene, which is gonna be for 13 to 17. Moved into the A on the G string, which is on 14 France. We do 14 to 17 again. We pick up the D on the B string, which is on 15 and we're gonna go from the D to the E, which is 15 to 17. Move down again. Soon as we did on the lorry. We're going to do 15 17 again. So wait Note. When we're on the 17 friends, all of them knows that we moved to our own Gonna be almost 17 which is the octave off the a string. When we played that first position, all of the notes again We're on that five friends. So it makes sense that what we started here is what we gonna finish here on the octave. Now we number these positions. 12345 Because I've got five notes in the pentatonic scale, we have got five positions, but playing the pentatonic on these are always constant. So no matter what key were in were always going to be playing these shapes adjacent to each other is always gonna roll through in the cycle. So, of course, if we here on the five friends we finished appear on the 17th fret, we know that that's the old tape. We can take that final position. Position number five and we complaint starting on the G. So we can. Behind that, we have got 3 to 552 to 52 to 5 free to five, 3 to 5. So we've got five position here. We've also got five position behind the Egger said it moves on a cycle. We can also utilize the open strings which will give us position before so we can use open strength going to three or string thin. We've got on the D String open which is the dean of the on the G Strengths them again. B If you remember one result here, we have to do 13 to 15. So it's the same down here where we've got of this town. Play 12 free on then e again open to free. So now on Lee, Come. We move up the front board, we can move down in the cycle Sores well is going in a say in a clockwise direction with your anti clockwise. So really, we have no go on ability of playing our pentatonic scale Any work on the front board? First of all, focus on this key that I've used is the A minor. So you get used to the cycle on, then start to experiment with it in different keys because somebody said you can you play through the positions on B flat minor. It should not be a problem now because the sequence is always the same 8. CAGED and Major Pentatonic: this lesson. We're now gonna look out the major pentatonic scale. We're gonna look at the court shapes that work best over the five positions off the pentatonic scale. So what we're doing as we move through the major pentatonic which in this case will be seen , Major, we have been looking at the court shapes from the cane system, which are best suited as we move up and down, friend. So if we look at major pentatonic position wall in Save, which is a 10 7 10 7 10 798 10 8 10 C major pentatonic. The court that sits and gives us the best use off coaching is the E template because the majority of the knows that we're playing appear in this position here. So playing a C major chord, that is our scale that would be best used overnight called. So as we move forward on next world because we start from the e, we're gonna move forward to the night shift within the ship now similar to the minor pentatonic to be looked up, the court seekers moves off with the pentatonic sequence. So we use pentatonic Major won. The name ship will be pentatonic major too, which is the one that sits over 10 12 10. Top 10 12 back to nine. Forward all the B strings, attempt 13 and bites and take notes. Fit ideally over the top off D shape. We move forward, we're gonna be looking out the sea, which is this ship here on the best shape of playing out would be a game is before fruit is going to be major pentatonic free, which is 12 15 12 15 years. You'll see them. 12 14 12 14. Moving forward. Which again, if we think of our C brings in up 13. So we've got 13 15 12 to 15. So we've R c shape. That is the ideal Major. It's big. Crumpton. Here's one move forward. So what we gonna do? We gotta move that cycle, right? And we're gonna pick it back up here. So we have a C shape which again give us out of shape over top of that. So there was See, we was playing over the top. Same notice that we just have appear. So if we move forward now, we've got our next C in the case sequence, which is our first position. There's our route. We are going t o use Major pentatonic four, which is 353525 to 5 3535 Which game? They're suited over the top of that final wall, which is using the G ship Djebbour waiting. Approach it Well. This was an easy one because it is going to be Position five, which is the same house minus one. Which is that the use to which we go? Five pain. A lot of talk about you could clearly see that is the best shape suited for playing a major chord. Cement Corp over the top. So again, we have five pentatonic shapes that fit the five positions of the Kate system, which allow is to use the North from the pentatonic scale all over the court were actually playing. So we don't have to keep moving up and down the fretboard as we are playing through the sequence. If we want to. Seoul 9. CAGED and MInor Pentatonic: in the previous lessons, we looked out the pentatonic scale, and we looked at the five positions off using the pentatonic scale. Whether you CIA's minor or a major sequence doesn't really matter what we going to be doing today. In this lesson, we are going to look at combining the different Patton's of the pentatonic scale with the five Cage positions because we've got five C A g d five core chips on. We've got five different positions in the pentatonic scale as we move up and down the front board. So what we going to do is we're gonna look at each off the different combinations off the shape that we use and apply them to the pits pentatonic scale that is situated around the court shape. Now we are going to go out of sequence a little bit in the cage sequence because I wanna work through the minor pentatonic positions because it gain. That's what we most comfortable, and I find that my students understand the easier if they come following through on the A minor. But all of these shapes move with the courts. So once you've learned one ship over one chord, you learned it in 12 positions around the fretboard. Now the reason we do this is that if we playing in ST Key off A without here a minor way, want to play a minor pentatonic, We don't want to be moving up to here to play a wine on the move back to this court. It really wouldn't make sense. It will be better to be able to play a pentatonic scale around the court with playing. Um, that's what we're going to be covering in this lesson. So let's festival go to a minor pentatonic first position, which is we've looked at in previous lesson is across five. No better, simple scale On the court, Shatner would use the A minor that would be best suited. All the nuts scale position will be the e minor template, because to play an A minor using the E minor template would fall. This called here, which would be a bar across the five on. Then we've got our SEC offered on forefinger covering 55 on the A on the way play through that court. If we look down on the froth, that scale sitting over the top off the court, so if we playing in a minor way, could just very easily played skill over the top of that court. Let's move up. Let's go into the next position off the pentatonic, which is the one that's moving up here. And we plan across 8 10 Know what Krawcheck will be used for playing over that. Now what we're trying to do because we're in a minor pentatonic, we're gonna be looking at an a minor chord from the Kate system that sits over that scale position. Well, the one that fits the best is to use the D minor template because we've got these notes which sit over that court way using about di Maina shape, we want to use a pentatonic behind it. Second position theme would be better to use. Of course, we've all over North are available to it, but that will be the change, not a position that we could use. So if we using second position minor pentatonic on. So if we using a a my nickel, but using the D minor template, the best scale shape would be second position, minor pentatonic. Let's move on. Let's look at the a minor that we did in the a minor template, which was this shape here, which was that I'm not used to regular that woman. No. As we moved up, we're gonna be using the third position. Minor pentatonic was All we do. Is we tracking between the minor pentatonic that we have a second position was over the D minor. When we move off, we're going to go into I see template. So we've got C minor. Which was that? 10 9 10 12 on that fits nicely over for position. Minor pentatonic. So see mine A temporary. Which gives us an a minor chord if we're playing it across 10 9 10 12 Fits right over the top. Off for position. Minor pentatonic. I'm sure you can no start to see how this is working. All the shares that we've learned in the cage system moving off, off, following and tracking the identical positions in the pentatonic cycle. If we go up to our a minor 12 fret that fits over the top off fourth position. A minor pentatonic notes that were playing failed to us over the final one is over. Not a G template that we have A man is incorporated over five position way. So we've got five cage positions, which we started off on the E. Then we went to the D. Then we went to see way went to the A on. Then we've gone to the G. Now we can also do that backwards. As I said, if we plan the A over here, we're playing the a minor way. Have got access to playing that down here on the theme. No, I think this also works with me. Bank down other chords. We've got a name on it. Thanks. Also works. When we go back down here on the fretboard, we use allies in the strings airplane line in here. Well, in game four, position a minor pentatonic, ideally over the top off a minor. No, I have included a sheet for this. It'll be a little bit easier to see it on the diagram. So there is a diagram that goes with this part off. This lesson I just want you to festival is get used to seeing the shapes over the top off the courts get used to locking whichever courtship you're using. Locking that in to the position. So they are the ones that we would use over the minor pentatonic 10. Major and Minor Pentatonic Positions: in the previous lesson. We looked at the pentatonic scale, playing the scale all over the front board when we started using the minor pentatonic. What I want to quickly talk about is the major pentatonic and how that relates to the minor pentatonic scale. Now the great news is as a guitarist, the two scales on the patterns are identical. What I mean by that is that we always moving that cycle from that what we would see his minor pentatonic one moves to minor pentatonic to that shaped are always the same name in the major scale. That is exactly the same. I went. We number them differently now if we was playing a minor pentatonic. We know we've got the notes going Pain soothe minor pentatonic that is going from any route . No mind offered in the major pentatonic if we was looking out, See, which is the major scale with the minor a minor being The relative minor difference in the position between them to is this minor third, which is a being on five C being on eight. But if we was to them move through the C major pentatonic, we would have seen same notes. Different starting point different Starting point is a minor third beneath the root note for the A minor pentatonic Know what that means is if we are numbering and we're thinking major pentatonic We actually start on numbering from what is second position a minor pentatonic or second position? Minor pentatonic. This then becomes first position major pentatonic Because if we look at that second position minor pentatonic, which started here on a friend which was see that is no first position major pentatonic. So all that happens is that we just shift the numbers of one position so one position to free, whereas in the minor it will be to position three position for so you could actually see that five position Major pentatonic is exactly the same as first position. A minor pentatonic. Now what first that could be a little bit confusing on. What I do say to my students is actually pick Wong that you can work with on which one that you feel more comfortable with at this stage. Now most people do feel more comfortable using the minor pentatonic scales. The 1st 1 they use so called at one, 2345 If you're playing in a major carnival playing a major Courtney, you want to use a pentatonic scale over the U street in second position. Even though you're playing over, see court with time, you'll start to remember the difference. That second position minor pentatonic is first position. Major Panter time on just what them through. But to start with, don't worry how you use them. The main thing is to actually use them as you move. Open down the fretboard backwards and forwards. What do you understand? The first position Major pentatonic is not the same as first position. Mina Tent, Minor pentatonic does the first position. Minor pentatonic is free Friends Law, but its shares the same shape exactly. 11. Backing Track Level 1 Ex1: 12. Backing Track Level 1 Ex 2: 13. Backing Track Level 1 Ex 3: 14. Backing Track Level 1 Ex 4: 15. Backing Track Level 1 Ex 5: 16. Maj7th Chords & CAGED: in part two. We are no gonna look at extended chords. The first of these is the major seventh core group through the kids system. What I want to know festival assure you the different chords in the open court position. So what we do, we playing a major court on were also adding the major seventh note to each one of these courts. So let's just go through them one by one, and then we'll move them up the fretboard. So the 1st 1 we're gonna be looking at is the C major seven play that using the sea ship are we going to do in this open position is take this octave see on the B string on just turn it into a B by lowering it down 1/2 tone. So that is the major seven. So they're a simple playing a C major seven. We got the a chord. There's are a major chord again. Are we gonna do we gonna take this anal, which is on the G string? We're gonna flatten it down to the G shop. A major seven Next up is the G major seven. There's your normal G chord again. We're gonna take this g on the high e string We're gonna flatly 1/2 tall. There's an f sharp, which again is the major seven of the G major plan. All we gotta do is just play this G way, Go to the e standard e major chord. We're gonna take a second here. I'll be flaunting it half a tone So we get his d shop. So the shed that we get a major seven Final one is the D eyes are the We took this d which is on the B string Take it down 1/2 tone again We have a seashell We play that way have a d major seven chord Let's no move these up The fretboard unsure You hope to play them now See , major seven Obviously that is the way. Just take that off. Now that's all well and good on the sea May just seven. So I'm just gonna break from the pattern. Normally we're gonna take I'm gonna show you how to play. This is a D major seven using the C shape because that way we've got to use the bar. So there is our d major using the Kate system by on second friend. I'm sure you figured this out, but I do want to show you here. All I gotta do is I just lift my second finger on. That is a major seventh template in the sea form. So I could play that anywhere. I could take an e major, raise that second finger, Major. Seven chord. No, we're gonna move up on. We gonna move into the sea form. So all we've got to do to use that form is we just adjust our shape. All I'm doing, I'm just moving up. My third finger moves up toward my second figure. What was going on? Five D on my second finger moves down to 40 way. Get this triangle ship with the bar across the way. Now, when you get to the G playing the sea ship, this can be a little bit of a tricky ship to pull off because we don't go in this shape. We got physically go on the neath So the shed that we're gonna be plays a little bit of a challenge to get to. So what I do when I'm playing this form, I don't play Simmons. One always do any before there's my June Major. What I do. I take the shape on eye on Lee, play from the A string down. So it allows me to get this major seven, which is the be here on the high E string on. Then I put my third finger across on seven, which is taken in the E Now, I don't play the law note, so I'm just playing from a string day on That gives me a G form off a C major seven. That's my template. If I want to be using the G four for the major seventh the E shape. Now this one really isn't a bar chord. All we're gonna be doing is I actually take the way I show this to my shooting students is I take the shape off on E minor. So an e minor thought was gonna put a Barney. So think of it as a e minor chord, but we don't have a bar on it. So we got this e minus. So we're playing here. We are doing d nine g nine. We have a B eight and I'm using third finger, Little finger, second finger moving down the fretboard. Then I take my first fingers. No longer function is a bar. It comes across on it plays with C on the eighth, fret each ring on I get lazy with this first finger. Sweet music. The A string on I don't play the High East ring. I use my first finger to meet that way. Have the major seventh using the e shape seem ageism Final One. And this is always an easy one to do on the D ship, which is unusual for the demons. They normally a little bit of a challenge because they're quite scrunched up on the fretboard. There's my C No, only I'll be taking that shape. But this one really easy. I could even use my first finger. My little figured her name were. I'm playing on the front board because I'm high appear. I choose to choose my little finger, but I've got my first finger there on the sea, which is on the 10 D and then it's just a flat bar on 12 is just too fresh higher up, so that gives you the D shape for a major seventh. So we've now got all of the five groups for the major seventh chord, working them inside the cage system 17. Min7th Chords & CAGED: Now it's the turn off the minus seven court. So we're gonna be taking each one of the minor chords moving up the front board, and we're gonna be adding the minor seventh, making this an extended cord. Now again. Same as the previous lesson. I want to show you these in the open. Or is it to be the open? You'll see what I mean. Home. The 1st 1 for these court shapes, we can relate them to a standard chord that would be using previously No, as with C minor in the cage system with C minus seven in this position is a strange one on this one. We have straight out off the about showing you how to play the minor seventh chord in the C minor format. How are we gonna be doing? We're gonna put our bar across first fret on. We are got a little finger on the third threat of the high eat. We've got our third finger. Third, fret off the G string on inferred from which is your room? No, on the sea on. We play with a string down straight away. We have got this shape that we can use all over the fretboard. We could just move that up D minus seven. So that one there is a very easy want to cover. You might want to adjust it on. Just take part of the court. If you find a challenge, just play from the D string down. Just covering the third France arm, the G on the eat. Of course, as you move forward waiting on shit, you tell him to how you want to plan up. Next up is the A minus seven. You've probably played this previous times. It's an a minor. We just left offered finger. So the G string goes to the G, which is your mind. Seventh when we play from the extreme measure a minus seven g minor seven. We have got a flat bar across the third fret from the D string down we pick up the B flat, which is that mine Efird on. Then we also play across were pulling in the G on the Lowy streak and we even have a challenge to get the fingers clear off this a string You might just want to play with the B flats you picking from the third and plans an inversion wave Got a bar across from the D string down so all of them strings bar on. We just move. One fret behind on our route. Note eyes over the top e minus seven. Easiest code in the book doesn't get any easier than this one plays the amount of seven. You just evolves holding down one note on the fretboard because the knot is doing the work . Sony, minus seven, is just on the a string. Second front. Ah a D minus seven is like playing BF court, but you just lift your finger and we go back to the D on the open string. So a demon a seven ways what we've got there. There's our d on all we do and we take another tiuna. Whole tones. We get the flat seven. There is your D minus seven. No, let's work up the fretboard looking at the different shapes, applying it to the sea form. So we've already looked out the C minus seven way move forward to our bar is here on for French. Others are sea route No, a minus seventh. It's just like playing the C minor on. We just lift a little finger. Just C minor seven the G minor. We've gotta go all the way up here. We're gonna hold down all them notes here from the D string down we pull in on seven French to fresh behind with Bari's on the third finger comes across on We have got our c You might just choose just to plan a flat bar on Just pulling two friends behind on the A string Jean minus seven. It's a related back to those you're sick or you could take it. As you know, on the high e string Seaman ascent the E fall again and never know Easy version is great when you want to put one finger plus the ban on the fretboard We just put the bar across all off the notes on the E on the C line, which is the eight friend We just drop our third finger onto 10 front. Another version you could do on that is you just barred only 1/3 finger from the D string all the way down on. Then you come across the top on the sea a new mute some which the a string between you a seat minus seven using a phone. Finally. No. We have the C and the D minus seven form of the D minor. There's your court that it's gonna be a bit of a squeeze boat. You've got D minus seven. You might just choose just to drop that room. Knocked down there. Just played a so, in a sense, the formation of playing an E flat. Major court cross their free strings If you want to bring in the bring in the room. No, bring it in. Bring it. That gives you a C seven. So we have got all off the five shapes for the minus seven now in the cage system. 18. Dom 7th Chords & CAGED: Now we are going to look at the dominant seventh courts. Dominant seven is a major chord with a flat seventh Added to that. So when we bear in mind, we playing these calls are always gonna be based round the major for Mt. So what I'm gonna do? As for the previous two lessons, I'm gonna play the initial ships down here between open string on third fret. So the C seven court figure you see on then we drop our little finger so it is in line with the third finger. Two strings down because thou is a flat seven interval between route find seven years to shrinks down across on the a string. So we've got there eight b fort so that shape their eyes a c seven. No, this is the shape that we used to travel. If we playing different cause we're gonna play d seven way, gotta make sure it is re muting the low e string on were also some bridging high Eastern. So that is the core for the C seven on. That's how we moving up and down the front next toe a seven. We think major court, we've got our their flat seven. So we're gonna have the gene simple way to do that. It is. I get rid of my first finger and I moved my second finger up to his position on D to play from the A string down seven g seven. Probably one of the first card you actually learned. When you start to play the guitar, there's your G Are we going to do is under flight seven, which is the absolute just change the finger positions. So the first thing you know is the root note on all we're doing is second finger on the A and then our first finger picks up first front on the High Eastern Given to stop minus seven. Jesus, no, we've got the e seven again. Think major court. When are we going to be doing? Is taking that finger up our third finger on the d two, which is the e m. We're going to take it down. A whole tons were playing the d. So we just left out finger. That's the E seven d seven. There's R D flat, muddy down to the sea, which is the flat seventh in this case. So all we do we do? A reverse of the fingering in a sense or reverse of the shape. So we are no taken our foot Bingo E to first finger plays Be one on our second finger. No plays g to earn. We got the D String seven. Let's put them no into context using C. We've already don't seven way Move over to the C major using the a former or we've got to do. Is we discovery? Get rid of off this G string back to the bar. But what I do that same as I did with the A seven in the open position. I get rid of my second finger on others. Move up 1/3 finger to take his place on No, the G string is back on the bar on third friend Way three, the C seven using the A former, I've come up to the G Well, this one here, This was not a bad one to do because all I gotta do is take that normal share that we use for the G shake. Starting here on lakefront with our little finger plan. The route only difference is no. I can bring the East wing into play because I could put my first finger second finger, one from above in the high heat up off the bar. So in this case it is on the B flat, which is six. There's my 67 using G former. We go to the former. There's our standard ICO up. All I gotta do is lift. That little finger gives us our flat seven in court season, move up the final one, There's RD, and now this one is probably one of the easiest wants to play in the D shape because we just put a bar across where? The scene on this. I want TEM France and Little Finger does E 12 3rd finger does G 12. And then I just dropped my second finger in on the 11. I have my seven game. We have covered off the cords. Dominant courts double its seventh courts, moving up the front board using the C made on the cage system 19. Backing Track Level 2 Ex 1: 20. Backing Track Level 2 Ex 2: 21. Backing Track Level 2 Ex 3: 22. Backing Track Level 2 Ex 4: 23. Course Conclussions: So we have covered all of the major on the minor chord shape. She's McCain system, I know in Part two, we have covered all off the shapes for the major seventh, a minor seventh on the dominant self. Now we have to put into practice. So what I have done, I have created ah whole Siri's off backing tracks for you to practice all off these different positions on No, there are two groups I have Group one, which is in stage one level one system, which is just covering the majors and the miners. Now I've included the court progression fear on on the video as well as the MP three file that I've got. You can follow the core progression as the video plates through. Now they are very simple called progressions. But what you need to do is to practice each off the cage shapes in each of the songs, don't just plain one way and think that you finished what I'd really like to do and where you have gained the most practice from doing this is each time, change your initial cord. So if he starts off in C initially, you probably don't want to go here or here, trying in different wants on on, then look for which is the most optimal core position to go for. It would seem silly to go from a C there to move all the way. That here to N F, so as you claim through them and they're not too fast, is to look for the best use of the Kate system. When you're moving through these core progressions, you can also use these core progressions to practice playing over the different pentatonic scale positions as you move through. So once you've got one chord progression worked out in your mind, then you can start to use the backing, trying to play the pentatonic scale off the top of it. Now in Level two, which is the extended court sections again, I've got more backing tracks, fear there. And of course, there's a little bit more involved because not only using the major shades were also dropping in the extended chord shapes a little bit quicker when it comes to the court changes as well, so work through them and treat each back in. Trick has five different approaches that you can use to playing over these backing tracks. So there's an awful lot of work for you to do now to move forward and start to master the cage system. Well, I do hope you've enjoyed this course. This is part one. Off my course on the intermediate sections. There will be more to follow. So I look forward to hearing your comments unseen you again in the future.